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Heeramandi: A riveting spectacle that sheds light on a significant chapter of India’s freedom struggle through the lens of tawaifs

The dense plot with many characters and backstories takes time to get used to. But the series is a must-watch for its grandness and impactful storytelling
Heeramandi: The Diamond Bazaar (Hindi), 01-05-2024, Period Drama, 8 episodes A, OTT
  • Main Cast: Manisha Koirala, Sonakshi Sinha, Aditi Rao Hydari, Richa Chaddha, Sanjeeda Sheikh, Sharmin Segal, Farida Jalal, Fardeen Khan, Taha Shah, Adhyayan Suman, and Shekhar Suman
  • Director: Sanjay Leela Bhansali
  • Producer: Sanjay Leela Bhansali and Prerna Singh
  • Music Director: Sanjay Leela Bhansali
  • Cinematography: Sudeep Chatterjee, Mahesh Limaye, Huenstang Mohapatra, and Ragul Dharuman
  • Rating: 4/5
  • Published in: Southfirst

Sanjay Leela Bhansali’s empathy for sex workers or the fallen woman is a separate genre in itself. He presents them not only in a larger-than-life manner but also makes them take a stand for an important cause.

Much before Gangubai Kathiawadi (2022) happened, there were Devadas (2002) and Saawariya (2007) that had Madhuri Dixit Nene and Rani Mukherjee respectively playing sex workers in the respective movies.

In both movies, there is a visible sensitivity in the way he writes these women.

Gangubai Kathiawadi, based on a heart-touching real-life story, further highlighted Bhansali’s empathetic approach. In the film, he combined the elements of grandeur and masala storytelling while making some important points.

In his digital debut, Heeramandi: The Diamond Bazaar, Sanjay Leela Bhansali has once again touched upon women in the sex trade with a strong undercurrent of socio-political aspects.

Synopsis

Manisha Koiralain ‘Heeramandi: The Diamond Bazaar’. (X)

The story of Heeramandi is set at the peak of India’s freedom struggle.

Mallikajaan (a ferocious Manisha Koirala) is the reigning queen of a powerful palatial house in pre-independent Lahore. She is surrounded by an army of gorgeous women like the elder daughter Biboo (a radiant Aditi Rao Hydari) and Lajjo (Richa Chaddha).

Lajjo is a daughter-like figure to Mallikajaan. She was sold to her at an early age.

Mallikajaan’s younger sister is Waheeda (Sanjeeda Shaikh).

There is also Alamzeb, Bhansali’s niece Sharmin Segal, who plays the second daughter of Mallikajaan. Alamzeb has no interest in following her mother’s footsteps and instead wants to become a poetess.

Mallikajaan’s hold over the area takes a severe beating with the arrival of Fareedan (Sonakshi Sinha in a career-defining performance). Fareedan is hell-bent on taking revenge, she has a history with Mallikajaan and has qualities which are similar to the latter.

As the plot progresses, the internal strife and politics of the brothel along with the freedom struggle run by side eventually leads to the trio of women playing an important part in India’s freedom struggle.

Inspiring execution by Bhansali

Richa Chaddha and Sanjay Leela Bhansali. (X)

The beginning episodes of Heeramandi can be difficult to follow with the multiple plots.

For example, the double role of Sonakshi and why Fareedan is hell-bent on bringing down the pride of Mallikajaan and the anguish of Waheeda who feels let down by Mallikajaan. However, once the story settles down the proceedings keep you thoroughly intrigued.

The way Fareedan takes on Mallikajaan and the scenes of them trying to outdo each other are a delight to watch. They both come across as equals with all guns blazing.

There is a generational trauma that begins with the death of an important person that cannot be revealed here.

One of my favourite scenes in the web show is the portion where Mallikajaan praises Fareedan by saying that neither Biboo nor Alamzeb has inherited her qualities.

Heeramandi also has a wonderful love story in the form of Alamzeb and Tajdar (Taha Shah Badussha). Tajdar is Oxford-educated and dashingly handsome. He is the rebel son, while the father is a Nawab who is completely pro-establishment.

The father doesn’t approve of neither Tajdar’s love nor his being a part of the revolution.

Tajdar does not know that Alamzeb is the daughter of Mallikajaan for a long time. There is a playfulness in their romance that brings a smile to the viewer’s face.

Similarly, the audience also feels sad when their love story does not have a happy ending.

A scene that needs to be talked about here is when Tajdar dies in the police cell on the night when he is dressed up as a groom. The father leaks the information to the British officer as he is dead against having a tawaif’s offspring as a daughter-in-law.

The torturous death of Tajdar is a perfect example of state-supported custodian violence.

Makes an impact

Sharmin Segal in ‘Heeramandi: The Diamond Bazaar’. (X)

Through Heeramandi, Sanjay Leela Bhansali has also touched upon how it was not just the British who followed the divide-and-rule policy. Some Indians were also busy fighting among themselves for supremacy and vested interests.

This comes out through the juxtaposition of brothel politics and India’s freedom struggle.

The songs composed by Bhansali also strike a chord. A song that deserves a particular mention is “Azadi“, which plays out in the final episode.

The tawaifs march towards a prison wall at night with a swelling background score. The police try to stop them but this group of determined women do not give up and start hitting back.

Unlike the hugely polarising Jauhar sequence in Padmavaat (2018), this has much more of an emotional impact because it does not come across as a fashion parade.

The weak-hearted would have a tough time holding back their tears, it is impossible to not root for them and applaud their bravery.

In spite of their wealth and social standing, the Nawabs backed away from the fight against the British. These women, on the other hand, decided to fight back and not give in.

The styling and the taking of some shots look like a replica of Sanjay Leela Bhansali’s previous movies. For instance, the crowded lanes. But this is not a major deterrent.

Manisha Koirala & Sonakshi Sinha stand out

Sonakshi Sinha in a working still. (X)

Heeramandi has a sprawling cast but the ones who stand out are Manisha Koirala and Sonakshi Sinha.

Cast against type, both the actors sink their teeth into the respective roles and pass out with flying colours.

Manisha plays the mercurial patriarch with absolute glee. She does a first-rate job portraying both the negative shades and the deep inner agony.

Sonakshi Sinha matches step by step proving that she is highly underrated. She plays the firebrand devil with complete abandon,

Sonakshi has a commanding screen presence and it is difficult to move your eyes away when she is on screen.

Aditi Rao Hydari and Sanjeeda Sheikh also make their presence amply felt.

Richa Chaddha is fiery in the short but impactful role of a heartbroken woman.

Sharmin Segal is successful in portraying the innocence of a young girl but could have done better in some of the emotional scenes, nevertheless, the actor shares a wonderful chemistry with Taha.

Among men, Taha Shah makes the strongest impact. He does a swell job of showing the internal struggle of a young man torn between love and responsibility.

Special mention must be made of Farida Jalal, who makes for an adorable grandmother. The scenes between her and Taha also make for a good watch.

Verdict

Through Heeramandi: The Diamond Bazaar, Sanjay Leela Bhansali has made an impactful debut in the digital format. The web series is a must-watch for those who like Bhansali’s mode of storytelling.

It is streaming on Netflix.

https://thesouthfirst.com/entertainment/heeramandi-web-series-review-a-riveting-spectacle-that-sheds-light-on-a-significant-chapter-of-indias-freedom-struggle-through-the-lens-of-tawaifs

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Akshay Kumar and the need for reinvention

A rundown on how Akshay Kumar went from being a bankable star with numerous hit films to an actor struggling to get good openings.

Starting from the year 1991, Akshay Kumar aka “Khiladi Kumar” acted in over 100 films.

At the beginning of his career, Akshay was primarily known as an “Action Star” because of his physicality and fitness levels. The “Khiladi” tag was the result of the action sequences and this image has stayed with the actor to date.

However, thanks to acclaimed South Indian director Priyadarshan, the actor’s image took a huge turn with the film Hera Pheri (2000). In Hera Pheri, Akshay Kumar played a street-smart guy called Raju.

The film gave him ample scope to display his comic skills. The movie also had a couple of emotional scenes which he pulled off with ease.

Hera Pheri opened new doors for Akshay Kumar. The film did not get a good opening but emerged as a box-office success gradually.

It is considered to be one of the best comic films made in Hindi cinema. It was a remake of the Malayalam movie Ramji Rao Speaking (1989).

The combo of Akshay Kumar and Priyadarshan entertained the audiences further in the likes of Garam Masala (2006) and Bhagam Bhag (2005) — also a remake of the Malayalam classic Manichitrathazhu (1993).

In these films, Akshay Kumar raised many chuckles with his comic timing.

A special mention must be made of the scenes in Garam Masala, where his character juggles multiple girlfriends.

However, it wouldn’t be fair to categorise Akshay as just a comic actor.

More than a comedy actor

Akshay Kumar and Amitabh Bachchan in ‘Waqt: The Race Against Time’. (X)

There are the likes of Aankhen (2002) and Waqt: The Race Against Time (2005), among others, where Akshay Kumar proved himself as a versatile actor.

In Aankhen, he played one of the blind men whom Amitabh Bachchan uses as a pawn to take revenge against the bank where he was working and humiliated.

The Bollywood actor got the nuances of the role spot on and was very impressive, particularly in the face-off with Bachchan.

In Waqt: The Race Against Time, the actor played a spoilt son who undergoes a metamorphosis the hard way. He was both goofy and also intense in equal portions.

Akshay Kumar as a social commentator

Akshay Kumar in ‘Padman’. (X)

There was also a period when Akshay Kumar found success with films dealing with social issues but with commercial ingredients. Case in point being Toilet: EK Prem Katha (2017), and Padman (2018).

What made Akshay’s performance in Toilet: Ek Prem Katha commendable is how he transforms himself from a son, who is scared of his orthodox father, to bringing a change in the mindset of an entire village. There is a visible effort in getting into the skin of the role.

Another movie worth mentioning in this category is R Balki’s Padman. It was about an entrepreneur Arunachalam Muruganatham who made low-cost sanitary pads for women in rural areas.

The actor did a wonderful job of conveying the determination of a man who is mocked constantly and considered a madman by the people around him.

There are scenes in Padman that not many leading stars would have attempted. A case in point is the portion where Akshay’s character tests a sanitary pad on himself with disastrous results.

You also have a speech in the pre-climax at the United Nations, which is very moving.

An impressive Airlift

Akshay Kumar in ‘Airlift’. (X)

Apart from the above-mentioned ones, Akshay Kumar was also hugely impressive in the thriller drama Airlift (2016).

He was seen as a businessman who helped in the evacuation of Indians in Kuwait during the invasion of that country by Iraq’s supremo Saddam Hussain. This invasion is the beginning of the Gulf War.

Akshay’s character Ranjit Katyal starts as an arrogant businessman for whom profit is the only thing that matters. But soon, we see him vulnerable and helpful.

There are occasions where Ranjit is down and out but he still keeps going. Airlift is easily one of Akshay’s best performances.

Before the COVID-19 pandemic, Akshay Kumar was having a mostly dream run with hits upon hits.

In fact, the actor’s box office figures were much superior to Shah Rukh Khan who was going through a lean patch at that time. But all that changed drastically post-pandemic.

Malfunction of formula

Akshay Kumar in ‘Samrat Prithviraj’. (X)

The formula that worked so well for Akshay all those years has now come crashing down.

It is a well-known fact that the actor hops from one film set to another in a stipulated time. He likes having many releases in a year and method acting has never been his forte.

Akshay’s co-stars have often joked about it openly during movie promotions. Sure this strategy paid big dividends in the past, but now, it backfired with the actor becoming the butt of many jokes.

Certain jadedness came both in terms of script selection and also the actor’s attitude.

A good example of this is the movie Samrat Prithviraj (2022). It was clear while watching the film that the actor looked upon the project as just another film instead of getting into the skin of a very important historical character.

What he ought to have done was something like Hrithik Roshan in Jodha Akbar (2008).

The rumour has it that producer Aditya Chopra asked Akshay to grow a real moustache but Akshay refused to do it.

Even if you look at the movie Mission Raniganj (2023), there is no effort in getting into the headspace of Jaswanth Singh Gill — an engineer who risks his life getting the trapped miners out.

Even the Punjabi accent is more put on than anything else.

Latest failure

Akshay Kumar in ‘Bade Miyan Chote Miyan’. (X)

But the most shocking of all is the recent Ali Abbas Zafar’s Bade Miyan Chote Miyan (2024). In fact, the genre of Bade Miyan Chote Miyan fits perfectly on the radar of Akshay Kumar — a combination of action and comedy.

However, the Bollywood actor appears as a pale version of his Khiladi avatar.

In fact, Tiger Shroff was in much better form with some genuinely funny one-liners. At least he appeared to be enjoying himself, unlike Akshay, who was literally sleepwalking through the role.

This is a sad scenario because Akshay is a capable actor who has shown that he can deliver good performances.

It is high time that Akshay Kumar does some serious introspection both about the kind of films he is choosing and also his working pattern.

https://thesouthfirst.com/entertainment/akshay-kumar-and-the-need-for-reinvention-in-films

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Dil Dosti Dilemma: A breezy coming of age drama that makes for a good watch

Director Debbie Rao does a fine job of exploring the clash between societal expectations and personal identity.
Dil Dosti Dilemma (Hindi), 25-04-2024, Drama,7 episodes U/A, OTT
  • Main Cast: Anushka Sen, Tanvi Azmi, and Shishir Sharma
  • Director: Debbie Rao
  • Producer: Seema Mohapatra
  • Music Director: Sid Paul
  • Cinematography: Deep Metkar
  • Rating: 3.5/5
  • Published in: Southfirst

Teenage is generally a period of huge upheaval in many ways. It is a period of confounding emotions, self-doubt, and so much more.

Dil Dosti Dilemma, directed by Debbie Rao, focuses on this turbulent period through the lives of three teenagers.

For those who are not aware, this web show is based on the book “Asmara’s Summer” written by Andaleeb Wajid.

The web show is streaming on Amazon Prime Video.

Synopsis

Anushka Sen’s Asmara is a privileged young girl who borders on being insensitive.

In the initial episodes, she comes across as a brat much like her other two friends — Naina (Revathi Pillai) and Tanisha (Elisha Mayor).

These three live in a very extravagant part of Bengaluru. They love shopping and spend as much money as they want without any care in the world.

Asmara is also a fashionista. She is excited about her Canada trip but a blunder results in her being sent to the grandparents’ (played by Tanvi Azmi and Shishir Sharma) house.

There is a huge difference between the place Asmara’s parents live and that of the grandparents.

Ashamed to say that she is living in a middle-class locality, Asmara cooks up a story to her friends about going to Canada. She also comes with a unique plan of making her friends believe this.

The rest of the story focuses on how Asmara makes new friends, finds love, and plays a key role in the Tibbri locality not getting destroyed in the name of redevelopment.

Relationships portrayed well

‘Dil Dosti Dilemma’ is streaming on Amazon Prime Video. (X)

An aspect that works strongly for Dil Dosti Dilemma is the characterisation of the three friends and how Debbie Rao explores the complexities of teenage friendship.

For example, Naina is desperate to get social validation. Tania struggles to cope with her parents drifting away and having possible extramarital affairs. Asmara, on the other hand, is ashamed to talk about her grandparents as they do not live in a high-class locality, unlike her parents.

The three have a WhatsApp group called “Awesome Threesome” for sharing things. However, there are certain secrets which they hide from each other for fear of judgment.

The web show also dwells on the topic of classism and the rich-poor divide with sensitivity.

The dynamics between Asmara and her grandparents give the show some of its best moments.

It does take a while for Asmara to adjust to her grandmother’s ways and vice versa. This gradual progression is filled with lovely moments.

There are scenes where the grandmother learns from Asmara how to deal with certain situations. The chemistry between Tanvi Azmi and Anushka Sen adds a lot of entertainment to the storyline.

The portrayal of the relationships — be it Asmara’s growing bond with the grandparents, a new friendship with Ruksana, and her love with Farzaan — have come out well.

A couple of subplots needed better etching though. For instance, a track related to Naina’s brother.

Also, the falling marriage of Tanisha’s parents and her using an intern at her father’s office to find out whether the mother is having an extramarital affair or not does hamper the proceedings at places.

Anushka Sen is the show-stealer

Team ‘Dil Dosti Dilemma’. (X)

The performances across the board, led by Anushka Sen, are top-notch.

Anushka’s Asmara is someone who starts as an annoying rich brat whose attitude towards the middle class borders on being intolerable.

But as the plot progresses, the character goes through many changes and the actor does a splendid in capturing the various nuances. She holds her ground firmly even in the scenes with the more experienced Tanvi Azmi.

Tanvi Azmi and Shishir Sharma, as the grandparents, are wonderful to watch. They play their parts with a lot of warmth. A particular mention must be made of the few romantic scenes between Tanvi and Shishir Sharma.

Kush Jotwani, as Farzaan, has a good presence and is charming as the young man whose life takes a different turn after the entry of Asmara.

Final take

Dil Dosti Dilemma is a story of self-discovery and is worth watching if you like teenage dramas and are in the mood for something light.

https://thesouthfirst.com/entertainment/dil-dosti-dilemma-web-series-review-a-breezy-coming-of-age-drama-that-makes-for-a-good-watch

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Do Aur Do Pyaar: A well-made marital drama about the difficulties in sustaining love

Vidya and Pratik Gandhi bring alive the complexities of a couple who loses love. They are in extramarital relationships, unknown to each other.
Do Aur Do Pyaar (Hindi), 19-04-2024, Romantic-Comedy, 2 hours 19 minutes, U/A, Theatre
  • Main Cast: Vidya Balan, Pratik Gandhi, Ileana D’Cruz, and Sendil Ramamurthy
  • Director: Shirsha Guha Thakurta
  • Producer: Tanuj Garj, Atul Kasbekar, and Swati Iyer Chawla
  • Music Director: Abhishek-Ananya and Subhajit Mukherjee
  • Cinematography: Kartik Vijay
  • Rating: 3.5/5
  • Published in: Southfirst

There was a period when romantic movies used to end with the cliché of “happily-ever-after”. The messiness and complexities of marriage used to be sidestepped by the filmmaker.

But all this has changed in the recent past, thanks to the new-age directors who looked at the difficulties in sustaining love and how it is not all about cuddling with each other. This, of course, also has a lot to do with the way our society has evolved.

Shirsha Guha Thakurta’s Do Aur Do Pyaar is a good example of the new-age sensibilities.

Synopsis

Do Aur Do Pyaar primarily focuses on Ani and Kavya (Pratik Gandhi and Vidya Balan respectively). On the surface, they both are successful professionals living in a plush apartment in Mumbai.

However, their married lives are anything but that. They are in extramarital relationships, unknown to each other.

‘Do Aur Do Pyaar’ is a rom-com. (X)

Ani is going steady with a struggling actor Nora (Ileana D’Cruz).

On the other hand, Kavya is having an affair with a hotshot photographer Vikram (Senthil Ramamurthy). They are almost ready to move into a sea-facing apartment.

Their respective partners want to take the relationship to the next level but Ani and Kavya are still struggling with revealing the news to each other.

Words of affection have long gone. And now, the only exchange of Ani and Kavya is anti-allergic medicine, etc.

Interestingly, Ani and Kavya elope and marry, leading to a strained relationship with their respective families, particularly with Kavya’s strict father Venkat (Thalaivasal Vijay).

Back to the present. Things take a turn when Kavya’s grandfather dies. So, they both pack their bags to Ooty. This journey rekindles old memories.

The rest of the story is about whether Ani and Kavya give their marriage a chance or find lifelong happiness with Nora and Vikram respectively.

Best treatment by Shirsha Guha Thakurta

The premise of rediscovering love or choosing between lovers isn’t exactly a groundbreaking story, but the movie works because of the treatment.

Director Shirsha Guha Thakurta avoids the approach of moralising and getting into overt melodrama. There is a certain lightheartedness for the most part, and this works big time for the film.

Even the tense moments are peppered with some chuckle-worthy dialogues. For example, there is a scene where Ani has a nervous slip-up calling his father-in-law “Appam” mixing Appa and Uncle. This is just one of the numerous examples.

The scenes of Ani and Kavya rekindling their love all over again in Ooty and falling for each other again while doing mundane things back home give the movie some of its best moments.

The distinct characterisations of Ani and Kavya have come out well. For example, Kavya is the more temperamental one, and Ani, on the other hand, is a man burdened with responsibilities with poked-faced humour.

This variation in characters has come out well and adds to the drama, particularly when it reaches the point of crescendo.

The extra-marital relationships have also been treated with dignity.

Sendil Ramamurthy’s Hindi accent does get bothersome on occasions, but as viewers, you feel the love of Vikram and how deeply he wants her.

Vidya’s chemistry with Senthil is on par with the one shared with Pratik.

Similarly, Ileana D’Cruz’s Nora can occasionally come across as clingy, but her desire to have a normal life with Ani has been well written and enacted.

Explores complexity of relationships

Sendhil Ramamurthy, Vidya Balan, Pratik Gandhi, and Ileana D’Cruz. (X)

The complex relationships of rebellious daughters with their fathers are something we have seen before. But once again, it is the writing that makes the difference.

A scene that deserves a particular mention is when a frustrated Kavya asks her father the secret behind his long-lasting marriage. The father replies, “There is no secret. We just showed up every day.”

On the surface, it is a simple dialogue but the director makes a strong point that consistency in a marriage is quite important.

The second half of Do Aur Do Pyaar does sag somewhat in terms of writing. The attempts of Ani and Kavya at rekindling romance and juggling the existing relationships get repetitive. But still, these are not a major grouse.

Performances

Both Vidya Balan and Pratik Gandhi give top-notch performances apart from sharing a sizzling chemistry.

Ileana D’Cruz also gives a fine account of herself, in both light moments and dramatic bits.

Sendil Ramamurthy, too, is convincing as a hotshot photographer completely smitten by Kavya.

The music by the various composers also adds to the narrative. The case in point is the numbers “Tu Hai Kahaan” and “Jazbaati“.

Verdict

Do Aur Do Pyaar needs to be watched for the fine acting performances and the director’s depiction of modern complexities in a marriage.

https://thesouthfirst.com/entertainment/do-aur-do-pyaar-hindi-movie-review

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My Dear Donga: A breezy rom-com with a lovable thief

The USP of ‘My Dear Donga’ is how love blossoms between the robber and a young woman stuck in an unhappy relationship.
My Dear Donga (Telugu), 19-04-2024, Romantic-Comedy,1 hour 43 minutes, U/A OTT
  • Main Cast: Abhinav Gomatam, Shalini Kondepudi, Nikhil Gajula, and Divya Sripada
  • Director: BS Sarwagna Kumar
  • Producer: Maheshwar Reddy Gojala
  • Music Director: Ajay Arasada
  • Cinematography: SS Manoj
  • Rating: 3/5
  • Published in: Southfirst

Light-hearted rom-coms with some fun always make for a good stress buster. My Dear Donga, directed by BS Sarwagna Kumar, fits perfectly in this category.

The storyline of My Dear Donga is paper thin but Shalini Kondepudi, who has written the story and acted, ensures there is some good situational humour in the movie.

The subject of My Dear Donga focuses on new-age relationships and the small things, which matter in the long run.

Synopsis

Sujatha (Shalini Kandepudi) has been in a relationship for over two years with Vishal (Nikhil Gajula).

Vishal is a doctor who lies to his girlfriend about being in an ICU when he is actually watching a cricket match with his friends. Apart from this, he also occasionally ignores her with some excuse.

Things reach a crescendo when Sujatha learns that there is no ICU in the workplace of Vishal. She catches him red-handed handed watching a cricket match with a friend.

Naturally, Sujatha is devastated and reaches home broken mentally.

A robber named Suresh (Abhinav Gomatam) is already in her house and picks up a few valuables. Initially, she is shocked but soon, Sujatha and Suresh start conversing with each other as they have some commonalities in terms of family backgrounds, they hate their respective fathers.

Things get more complicated with the arrival of Vishal and her two friends. They visit Sujatha’s house to celebrate her birthday, and Sujatha introduces Suresh as her childhood friend.

The rest of the story is about how the birthday party goes and how she develops feelings towards Suresh.

Explores today’s relationships

Team ‘My Dear Donga’. (X)

A strong aspect of My Dear Donga is its crisp running time. At one hour and 43 minutes, the movie never feels dragged out.

Director BS Sarwagna quickly establishes the thorny relationship of Sujatha and Vishal.

Here, it has to be said that Sujatha is telling her story to a bartender who listens to her with complete attention. His reaction shots coupled with the conversations between them raise many chuckles.

How Sujatha develops feelings towards Suresh and the blossoming of love has been etched well.

A good example of this is when Suresh takes Sujatha & Co out, giving a huge surprise by celebrating her birthday with cake.

The situational humour involving Abhinav Gomatam also has some fun moments.

Special mention must be of the scenes where Divya Sripada’s character questions Abhinav Gomatam’s Suresh about where he and Sujatha met and which school they studied in.

As mentioned above, My Dear Donga focuses on the small things that matter in a relationship. Arranging surprise party poppers, washing the plates, and spending more time with the girl you love may appear trivial. But sometimes, these very same things give big happiness. This aspect has come out strongly.

Technical crafts

Ajay Arasada’s music could have been more soulful, but still, the tunes go with the movie’s flow. The title song “My Dear Donga” has been well-tuned.

There isn’t much scope for cinematography here given the setting but still, the film looks good visually.

Apart from relatively weak music, the reasons for Abhinav Gomatam’s Suresh becoming a burglar does not make much logical sense.

Also, we are never shown whether the mother comes to know about her son being a robber or not.

In the initial portion of the movie, we hear her voice. But after the family backgrounds are discussed, there is no mention of her.

Abhinav and Shalini excel

Abhinav Gomatam and Shalini Kandepudi do most of the heavy lifting.

Abhinav Gomatam’s ability to generate humour is of course well known. Here too, the actor does not disappoint. He plays the loveable thief with a lot of charm.

Apart from the comic scenes Abhinav also proves his versatility in the portions where Suresh gives wisdom.

As the story progresses, Shalini Kondepudi brings in both the required innocence and the strong-headed nature.

The rest of the actors do as required.

Final take

My Dear Donga makes for a good weekend watch in the family. Some moments in the film will definitely connect to this generation.

It is streaming on AHA.

https://thesouthfirst.com/entertainment/my-dear-donga-telugu-movie-review

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Amar Singh Chamkila: Imtiaz Ali returns back with a bang

After a series of love stories, Imtiaz Ali takes a welcome detour and delivers a hard-hitting film that goes beyond a biographical drama.
Amar Singh Chamkila (Hindi), 12-04-2024, Biological Drama, 2 hours 26 minutes, U/A, OTT
  • Main Cast: Diljit Dosanjh, Parineeti Chopra, Apinderdeep Singh, Nisha Bano, and Anjum Batra
  • Director: Imtiaz Ali
  • Producer: Imtiaz Ali and Mohit Choudary
  • Music Director: AR Rahman
  • Cinematography: Sylvester Fonseca
  • Rating: 4/5
  • Published in: Southfirst

Imtiaz Ali is a director who is known primarily for making love stories and he has found good success in that genre except for Jab Harry Met Sejal (2017)and Love Aaj Kal (2020).

But one of Imtiaz Ali’s best works to date remains Highway (2014). The director focused his lens on the issue of sexual abuse with the backdrop of Stockholm syndrome.

The film was a major breakthrough for the now national award winner Alia Bhatt. It is also one of Randeep Hooda’s best works.

In the last few years, Imtiaz hasn’t had the best run at the box, both critically and commercially.

Tamasha (2015) did moderate business but Jab Harry Met Sejal along with Love Aaj Kal 2 were damp squibs in more ways than one.

Finally, Imtiaz Ali has broken his dry run with the movie Amar Singh Chamkila.

Synopsis

Amar Singh Chamkila begins with the assassination of the controversial Punjab Pop Singer played by Diljit Dosanjh and his wife Amrajot Kaur (Parineeti Chopra).

Imtiaz Ali’s ‘Amar Singh Chamkila’. (X)

The husband and wife were a popular duo who had sung many songs.

From here the movie goes into non-linear storytelling that talks about the formative years of Chamkila which had a huge influence on his music, and how he goes from a Dalit laborer to a singer who is both admired and criticized in equal measure for the brazen lyrics that are sexual in nature.

At times Amar Singh Chamkila also plays out like a whodunit giving an insight into the groups who had a big issue with how Chamkila didn’t adhere to the social diktats.

One of the things that majorly works for Amar Singh Chamkila is the characterization of the titular role. Diljit Dosanjh’s character is not a rebel by design.

There are scenes in the second half when Chamkila tries to move away from his regular songs and tried devotional, but the audiences want Chamkila to sing what he is famous for.

Chamkila is not someone who is dismissive of what is happening around him, but at the same time he is a man who chooses not to be bullied into submission.

In that way Chamkila’s character proves to be a worthy successor to the previous Imtiaz Ali protagonists whose intent was to live more freely and in the process discover their purpose in life.

Many pertinent questions

In the two hours and 26 minutes running time Imtiaz packs in many themes.

For example who gets to decide what an actual art is? Should an artist endure a lifetime of hate and humiliation for choices that are driven by circumstances? And finally how there is a huge difference between criticizing an art versus wanting to ban something that does not align with our tastes.

Parineeti Chopra in ‘Amar Singh Chamkila’. (X)

There are many powerful moments in Amar Singh Chamkila that stay in the viewers’ minds for a long time.

For example, a journalist comes to meet Chamkila and insists on having a personal interview. Chamkila is reluctant to the extent that he won’t even look into her eyes, the reason being this journalist has worn pants.

This portion works as a hard-hitting statement on how a singer has no issues in writing songs describing women’s sexuality in a raw manner but at the same time, modern clothing is a big problem for this man.

Amar Singh Chamkila also boasts of some hard-hitting dialogues. There is a scene where Chamkila talks about how everyone isn’t blessed with the privilege of thinking about what is right and wrong.

He goes on to add that he certainly is not in that position and makes music to just feel alive.

The film also has some archival footage showing the real Amar Singh Chamkila and the wife Amrajot Kaur, this is juxtaposed with the scenes of Diljit and Parineeti.

Sure this technique becomes distracting on occasions but still the raw footage makes it easier for the audiences to understand why the real Chamkila was considered as a threat by the purists.

Technical aspects

AR Rahman’s music coupled with Irshad Kamil’s lyrics is the backbone of Amar Singh Chamkila. Mohit Chauhan’s “Baaja” sets the tone perfectly capturing the spirit of Chamkila. “Tu Kya Jaane” is another wonderful number celebrating the love between the husband and wife.

The camerawork by Sylvester Fonseca is also first-rate. The cameraman deserves distinction marks for bringing alive the 1970’s and 80’s of Punjab. A particular mention must be made of the scenes where the village girls talk straight to the camera with some hilarious punchlines.

Imtiaz Ali also deserves credit for how he has depicted the impact of insurgency, both for Punjab and Chamkila’s professional life.

Performances

Diljit Dosanj in ‘Amar Singh Chamkila’. (X)

Diljit Dosanjh delivers a rousing performance in the title role. It goes without saying that Diljit’s histrionics is a major asset of the movie.

The actor portrays the vulnerability and the fighting spirit of Chamkila in a stellar manner.

Among the supporting cast, Anjum Batra, as the first musician who collaborated with Chamkila stands out the most.

Parineeti Chopra has her moments like the love ballad “Tu Kya Jaane” where she does a wonderful job in showcasing a love-struck woman but the role of Amarjot needed to be etched better and also deserved a stronger actor.

A film could also have done with a deeper dive into interpersonal relationships. The track of Chamkila’s first marriage before settling with Amarjot also feels patchy.

Verdict

Keeping aside these small niggles Amar Singh Chamkila is a glorious return to form for Imtiaz Ali. Diljit Dosanjh shows why he deserves to play the male lead in Hindi Cinema more often.

https://thesouthfirst.com/entertainment/amar-singh-chamkila-movie-review

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Bade Miyan Chote Miyan: Action and a swashbuckling Prithviraj Sukumaran are the highlights of this Ali Abbas Zafar’s directorial

‘Bade Miyan Chote Miyan’ isn’t quite an Eid feast, but still, it is moderately engaging.
Bade Miyan Chote Miyan (Hindi), 11-04-2024, Action, Comedy, Thriller, 2 hours and 43 minutes, U/A, Theatre
  • Main Cast: Akshay Kumar, Tiger Shroff, Prithviraj Sukumaran, Ronit Roy, Alaya F, Manushi Chillar, and Sonakshi Sinha
  • Director: Ali Abbas Zafar
  • Producer: Vaau Bhagnani, Jacky Bhagnani, and Himanshu Kishan Mehra
  • Music Director: Vishal Mishra
  • Cinematography: Marcin Laskawiec
  • Rating: 2.5/5
  • Published in: Southfirst

Action-based movies with patriotism are one of the favourite themes of mainstream Indian directors.

The storylines are simple, there is a deadly enemy who wants to cause harm to the nation and brave-hearted soldiers have to tackle him with lots of action-packed sequences.

Director Ali Abbas Zafar’s Bade Miyan Chote Miyan follows this formula to the hilt. the first half has some minor suspense regarding Prithviraj Sukumaran’s Kabir. But the rest of it is utterly formulaic.

Synopsis

A poster of ‘Bade Miyan Chote Miyan’. (X)

Both Akshay Kumar and Tiger Shroff haven’t had the best time since the pandemic and the movie isn’t likely to change that although Tiger comes off much better here than his last two ventures.

Bade Miyan Chote Miyan focuses on two ex-soldiers — Rakesh aka Rocky (Akshay Kumar) and Firoz aka Freddy (Tiger Shroff). They are court-martialed for not following orders. However, they have the reputation of being the bravest officers.

Eight years later, Rocky and Firoz get back to tackle an enemy who wants to cause mayhem in the country with the help of AL.

This tech-savvy villain aims to create a situation where India will find itself in a war-like situation with its volatile neighbours. This is the story in brief.

Analysis

The first half of Bade Miyan Chote Miyan keeps you guessing about the antagonist’s motivations and why Kabir has so much anger towards Rakesh and Firoz. It also helps that the pace in this half is frantic with a lot of action thrown in.

Marcin Laskawiec’s cinematography goes well with the scale of the movie and the cinematographer deserves distinction marks for capturing the scale of a war-like situation.

The action sequences are also of a good standard, particularly for those who enjoy hand-to-hand combats and cars and choppers crashing in Rohit Shetty style.

The banter between Akshay Kumar and Tiger Shroff does have some funny moments, thanks to the one-liners of Tiger. For instance, Tiger gets the most fun repartees like the scene where he says, “Yeh aadmi hai ya dandruff, jaata hi nahi!”

The back story of Prithviraj Sukumaran’s Kabir and the reason behind his angst has been well-written and enacted.

After playing a victim who undergoes a lot of suffering in Aadujeevitham (The Goat Life), the actor has a ball playing to the gallery in this one.

A major problem with Bade Miyan Chote Miyan is the portions after the flashback of Kabir, a certain monotonousness creeps in.

The complex geo-political situation of India with Pakistan and China is merely used as a background with oversimplified solutions.

The film also suffers from a lack of strong female characters. The absence of an unnecessary romantic track is welcome but the female characters in Sultan (2016) and Tiger Zinda Hai (2017) were far better written.

Performances

Prithviraj Sukumaran plays the antagonist in ‘Bade Miyan Chota Miyan’. (X)

Tiger does a good job of portraying the suave and charming nature of Firoz.

Akshay Kumar, on the other hand, is mostly wasted except for the action bits.

Prithviraj Sukumaran makes for a delightful psychopath who has ambitious dreams.

Rakesh’s serious nature feels like an extension of Neeraj Pandey’s Baby (2015).

Manushi Chhillar lands lethal blows on her enemies, but beyond action, there isn’t much.

Alaya F irritates the audience with her comic timing.

Sonakshi Sinha repeats her “damsel in distress” act with a one-tone expression.

Verdict

Bade Miyan Chote Miyan is strictly for those who like seeing larger-than-life stunts with a predictable storyline.

https://thesouthfirst.com/entertainment/bade-miyan-chote-miyan-movie-review

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Maidaan : A treat for football buffs and Ajay Devgan fans

Regardless of the underdog template, ‘Maidaan’ must be watched in theatres to know the past glory of Indian football and a forgotten hero — Syed Abdul Rahim.
Maidaan (Hindi), 10-04-2024, Sports Biography, 3 hours 1 minute, U/A, Theatre
  • Main Cast: Ajay Devgn, Priya Mani, Gajaraj Rao, Rudranil Ghosh, and Raphael Jose
  • Director: Amit Ravindernath Sharma
  • Producer: Zee Studios, Boney Kapoor, Arunava Joy Sengupta, and Akash Chawla
  • Music Director: AR Rahman
  • Cinematography: Fyodor Lyass
  • Rating: 3.5/5
  • Published in: Southfirst

In a cricket-frantic country like ours, it takes a lot of courage to make a movie (Maidaan) on a sport like football, that too, in a period which very few in this generation would be aware of.

There was a period when Indian football was at its peak under the coach Syed Abdul Rahim. He faced many challenges and hardships, including a battle with deteriorating health.

However, he and his team overcame many difficulties and won at the Asian Common Wealth Games 1962 in Jakarta Indonesia.

After that success, India never won again. Unfortunately, Rahim also passed away some months later and Indian football has never been the same again.

Synopsis

Ajay Devgn in Boney Kapoor’s ‘Maidaan’. (X)

Maidaan begins in the year 1952. India faces a shameful defeat in the Olympics. Syed Abdul Rahim (Ajay Devgn) takes on the challenge of handpicking raw talents from across the country and forms a team that wins against all odds.

Along with Rahim, the movie also throws light on legends PK Banerjee, Chuni Goswami, and others. There is also Priya Mani as Rahim’s wife Saira. She is an important pillar of support to Rahim.

Saira is also seen trying to learn English. Gajraj Rao plays sports journalist Prabhu Gosh. It is a role which is a far cry from Amit Sharma’s previous directorial Badhaai Ho (2018).

First and foremost, the template of Maidaan is similar to many underdog sports dramas, particularly Chak De! India (2007).

Here too, the Indian football team goes into the 1962 Olympics without any expectations of winning. It faces a humiliating defeat in the first match with Korea but makes a strong comeback, thus surprising everyone.

Works despite predictability

A still from ‘Maidaan’. (X)

Despite the predictable scenarios, what makes Maidaan work is the detailing of Amit Sharma.

The director gives a wholesome account of the events that led to India’s win at the 1962 Asian Games.

A big strength of Maidaan is the characterisation of the central protagonist.

The highs and lows of Rahim’s journey and how he crossed numerous obstacles have been well-written and enacted.

The husband and wife scenes have also come out strongly. Priya Mani’s attempts at learning English while conversing with her husband bring a smile to the viewer’s face. There is a certain old charm in their romantic scenes.

Priya Mani’s Saira is not just a dedicated homemaker. She has a voice of her own, which comes out strongly in a couple of scenes.

The actor aces her part and makes her presence amply felt.

The choreography of the football sequences is easily some of the finest you would see on the big screen.

Cinematographer Fedor Lyass along with action director RP Yadav do an outstanding job in capturing the intensity of a football match. You know how things will turn out, but still, you will clap.

AR Rahman’s music is not of the chartbuster type. However, the songs help propel the drama.

They are mostly used in the background and come at the right time. My favourite ones are “Ranga Ranga” and “Jaane Do“.

Through Maidaan, Amit Sharma has also touched upon how regional politics is a huge bane for any sport and how football is the heaviest causality.

Performances

Gajraj Rao in ‘Maidaan’. (X)

The first half of Maidaan does make the viewers impatient.

Amit Sharma’s detailing does deserve appreciation but the portions depicting the federation politics could have done with some serious trimming.

Also, the hangover of other sports films does hinder the viewing experience at some points.

As Syed Abdul Rahim, Ajay Devgn brings his trademark intensity. The actor does a terrific job of showcasing the different facets of Rahim — the passion for football and the tactical acumen. A particular mention must be made of the scenes where Ajay depicts Rahim’s battle with lung cancer while ensuring that his team wins.

Among the football players, Chaitanya Sharma as PK Banerjee deserves a particular mention. The young actor delivers a fiery performance.

Gajraj Rao and Rudranail Ghosh as the thorns in the flesh do a good job of making the viewers hate them, although the characters border on being caricaturists.

Final take

Maidaan is a big-screen experience that should not be missed.

https://thesouthfirst.com/entertainment/maidaan-hindi-movie-review

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Kareena Kapoor Khan: An actor who stays relevant and is a strong force to reckon with

An overview of how Kareena Kapoor Khan is flourishing with author-backed roles and spreading joy among her fans.
Published in: Southfirst

Starting from her debut film Refugee in 2000, Bollywood actor Kareena Kapoor Khan has been part of over 60 movies, including special appearances and dance numbers.

The special appearances include Zoya Akhtar’s Luck by Chance (2009), Priyadarshan’s Billu (2009), and Lovely Singh’s Kya Love Story (2007).

In a career spanning well over two decades, Kareena Kapoor has carved a niche for herself — as a glamorous heroine and a good performer.

In Refugee, she was offered a performance-oriented role which she pulled off with finesse.

Of course, there are films where Kareena came across as too over the top in pitching her performances, like Kabhi Khushi Kabhie Gham (2001) and Prem Ki Diwani Hoon (2003).

Karan Johar once commented that Kareena was not even aware of for whom she was crying in one scene. But having said that, the actor also proved herself to be a versatile performer in many movies.

Kareena Kapoor, a versatile actor

Kareena Kapoor and Shahid Kapoor in a still from ‘Jab We Met’. (X)

A good example of this is Sudhir Mishra’s Chameli (2003). In the movie, Kareena Kapoor Khan played the role of a sex worker who speaks a rustic language.

It was a brave choice, particularly considering the glamorous image of the actor, but Kareena sunk her teeth into the role playing her part with empathy and conviction.

In the film Dev (2004), directed by Govind Nihlani, the Bollywood actor played a deglamorised role. She shared screen space with the likes of Amitabh Bachchan and more than stood her own.

A scene that deserves a particular mention is when Kareena’s character comes forward to expose the powerful men responsible for the riots before the police commissioner.

The actor effortlessly conveyed the grit of a determined young woman.

Ken Ghosh’s Fida (2004) is another important film in her career. In the flick, Kareena appears as a girl next door with a lot of tenderness. But in the second half, the character takes a huge turn and she is the villain who dupes Shahid Kapoor’s character.

Another noteworthy performance in Kareena Kapoor’s filmography is Vishal Bharadwaj’s Omkara (2006). Her role (Dolly) goes through many emotions from love, awe, fear and bewilderment.

The Hindi actor does not have many lines but she made a big impact with her expressions.

Imtiaz Ali’s Jab We Met (2007) is, of course, a monumental film in her career. Kareena’s Geet has many shades. From a bubbly and overtly talkative young woman, the character goes through heartbreak in the second half.

But still, there is an inner resilience. Kareena Kapoor delivered an award-worthy performance.

A strong screen presence

Kareena Kapoor Khan and Aamir Khan on the sets of ‘Laal Singh Chaddha’. (X)

When it comes to married female actors, there is a tendency to slow down post-motherhood and have long breaks. But Kareena Kapoor Khan’s speciality lies in maintaining her glamorous image even after two children and getting author-backed roles in different genres.

These films include Laal Singh Chaddha (2022), Good Newwz (2019), Jaane Jaan (2023), and the latest Crew (2024).

In spite of Aamir Khan playing the title role, Kareena registered a strong impact in Laal Singh Chaddha. Her Roop is a conflicted woman who loves Laal Singh and dreams big for herself.

Kareena Kapoor played her part with a lot of compassion, additionally, she also looked stunning.

In Raj Mehta’s Good Newwz (2019), the Bollywood actor appeared as a working woman named Deepti Batra, who has been trying to get pregnant for a long time.

She had a meaty role and she did a swell job. The actor was particularly good in a dramatic monologue with Akshay Kumar.

In Sujay Ghosh’s Jaane Jaan, Kareena played a single mother, who escaped an abusive marriage. Things take a dramatic turn when the past catches up in the form of her abusive husband played by Saurabh Sachdeva.

Kareena’s Maya D’Souza was a mixture of steely resilience, vulnerability and charm, among other things. She delivered a knock-out performance.

Crew, an absolute riot

Kareena Kapoor in ‘Crew’. (X)

Now, to her last release Crew. In this film, Kareena Kapoor Khan plays an air hostess who is unapologetically greedy and doesn’t mind taking a shortcut to get rich. At the same time, there is also a deep loneliness.

The Hindi actor did a wonderful job of portraying the different facets of Jasmine. Additionally, her scenes with Tabu were an absolute riot.

Kareena Kapoor also got into production with Hansal Mehta’s directorial The Buckingham Murders (2023), which premiered at the London Film Festival on 14 October last year. Her performance has been much appreciated.

This is a brief outline of Kareena Kapoor’s past and recent roles. Here’s hoping that the senior actor continues to shine bright and spread joy among her fans with varied roles.

https://thesouthfirst.com/entertainment/kareena-kapoor-khan-an-actor-who-stays-relevant-and-is-a-strong-force-to-reckon-with

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Aadujeevitham (The Goat Life): A heart wrenching survival drama led by an award winning performance from Prithviraj Sukumaran

An overindulgent second half does test the viewer’s patience but still there is a lot to savour
  • Aadujeevitam
  • Rating 3.5 out of 5
  • Starcast: Prithviraj Sukumran, KR Gokul, Amala Paul, Talib Al Balushi and others
  • Direction and Screenplay: Blessy
  • Based on: Book Aadujeevitam by Benyamin
  • Producers: Blessey, Jimmy Jean Louis and Steve Adams
  • Production Companies: Visual Romance, Jet Media Production and Alta Global Media
  • Music: AR Rahman
  • Genre: Survival drama
  • Running time: 2 hours and 52 minutes

Not so educated men going to gulf countries and working as labourers is a wide spread phenomenon. Their lack of education makes these men easy target and they often end up being slaves. Director Blessy has taken one such story from the novel Goat Days written by Benyamin. Survival dramas when done well make for gripping cinema and Aadujeevitham (The Goat Life) is a good example of that. It makes you feel strongly for the protagonist Najeeb and want him to come out safe.

Najeeb (Prithviraj Sukumaran) is a man living happily with his wife Sainu (a charming Amala Paul) when the movie starts. He is from Kerala. In order to earn more money and give a better life to his family Najeeb decides to go to the gulf with his friend Hakim (K R Gokul). Upon reaching Saudi Arabia they find themselves in a clueless situation without knowing who their boss is.

Suddenly a local Arab approaches them. Najeeb and Hakim think that this Arab is their boss. Najeeb’s dreams of a better future come crashing down when he is dropped off in the middle of a desert to look after goats and camels.  Najeeb knows only Malayalam but that is of no use to him there. He struggles to communicate with the owner of that place known as Kafeel.

He eventually becomes a goat herder with days turning into weeks, months and even years. Hope comes in the form of another immigrant an African by name Ibraham Khadiri (Jimmy Jean Lousis). Ibraham Khadiri promises to help Najeeb and Hakim to escape. The rest of the story is about the various hardships that they face and how Najeeb finally manages to get out of the desert and is able to reconnect with his family.

At audio launch with AR Rehman

A strong aspect of Aadujeevitham is how Blessy has presented the life of Najeeb in detail without any hurry. The flashback portions of Najeeb’s happy life in Kerala and his present situation has been well juxtaposed. Najeeb’s scenes with his wife give much needed relief in an otherwise heavy drama, the transformation of Najeeb from a healthy man swimming with abandon in the Kerala backwaters to someone who becomes very thin and unkempt gives Goosebumps to the viewers. A scene which deserves a particular mention here is the one when Najeeb checks himself in the mirror of a van after a long time and is astonished on how much his body has changed.

Najeeb’s struggles in rearing the goats and how he develops a bond with them later has also been well depicted, there is a wonderful scene in the post interval portion where Najeeb breaks down while bidding goodbye to the goats and the camels. It is a heart touching scene.

Sunil K’s cinematography is another big highlight of Aadujeevitham. He does a splendid job in capturing both the beautiful back waters of Kerala and also the vast desert where Najeeb and Co undergo many hardships. His cinematography particularly stands out in the scenes of sand storm.

A.R Rahman’s songs and the background score also add much to the film. The BGM is a mixture of Arabic, Indian, Islamic etc. The songs come at the right juncture whether it is the romantic one with Amala Paul or the most intense theme song.

What pulls down Aadujeevitham though are the dragged post interval portions. The various hardships that Najeeb faces in going back home needed more trimming. While it is understandable that Blessy wants the viewers to empathise with the plight of Najeeb but a certain boredom creeps in making the audiences impatient. The character of Ibrahim is a little vague. We don’t understand why he is not tired, not thirsty like the other two.

Prithviraj, a superlative performance, with Amala Paul

A lot has been already said about Prithviraj Sukumaran’s performance and how he has gotten into the skin of the character. It is definitely a life changing performance for the actor. His physical transformation into a thin and unkempt man is on par with the best of international actors like Tom Hanks.

K R Gokul is another actor who stands out with his heart touching portrayal. Talib as Kafeel is successful in making the audiences hate him. Amala Paul does not have any heavy lifting but still she made her presence amply felt.

https://www.primepost.in/a-heart-wrenchhingg-survival-drama